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YouTube, ASCAP Reach U. S. Performance Rights Deal

YouTube, ASCAP Reach U. S. Performance Rights DealAscap-new logo The new agreement between ASCAP and YouTube is all about better data. With no official central database of songs and songwriters, YouTube, Spotify and other streamers have repeatedly come under fire for failing to properly identify and compensate some songwriters. This new deal will leverage YouTube’s extensive data analytics and ASCAP’s database of musical works to address the ongoing industry problem of identifying songwriter, composer and publisher works on YouTube. The collaboration should lead to new levels of monetization and transparency for ASCAP members. “This agreement achieves two important ASCAP goals – it will yield substantially higher overall compensation for our members from YouTube and will continue to propel ASCAP’s ongoing transformation strategy to lead the industry toward more accurate and reliable data,” ASCAP CEO Elizabeth Matthews said in a statement. “The ultimate goal is to ensure that more money goes to the songwriters, composers and publishers whose creative works fuel the digital music economy.” “YouTube is dedicated to ensuring artists, publishers and songwriters are fairly compensated,” said Lyor Cohen, Global Head of Music at YouTube. “As YouTube delivers more revenue to the music industry through a combination of subscription and advertising revenue, it’s great to see […]

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From the comfort of YouTube to the challenge of playing live

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Music industry blasts YouTube’s ‘value’ report

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All that free music on YouTube is good for you, Google tells music biz

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The tech industry is eroding copyright law. Here’s how to stop it

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YouTube-commissioned report tackles music-industry criticism+”pdf”

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Why Warner did a deal with YouTube (and why it should think twice next time)

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Millions in Unpaid YouTube Royalties Up for Grabs

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YouTube Unleashes The Power Of Live Streaming | Tim Mulligan | Pulse | LinkedIn

French Parliament Turns Down Bill to Tax Online Video PlatformsYesterday YouTube announced that it was opening up live streaming to its creator community who have a following of 1,000 or more on the YouTube platform. The new service called “Super Chat” allows users of the service to “get a creator’s attention” by buying a variety of emoji and chat messages which are then pinned to the top of the chat window for up to five hours. The launch of a sticker economy for YouTube creators is a nod in the direction of messaging app disruptors such as LINE and the $400 million sticker economy which has been nurtured in Asian messaging app communities. For a personality driven ecosystem such as the YouTube creator landscape, additional engagement opportunities for both creators and fans have significant potential.

Currently, the service is available on PCs or in the Android version of the YouTube app, suggesting that the parent company YouTube is sticking to its battle in the war of the platforms and is reluctant to share revenue with Apple (Apple’s app store takes a 30% revenue share of all apps sold through its platform and Super Chats purchase start at $1.)

Why Live Streaming YouTubers makes sense

Google’s support page for the new service proudly states that “Super Chats are for your personal

YouTube Shows Little Sign of Old Age

YouTube Pays Indies 10% Of What Spotify Does, says Merlin CEO

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And the most popular YouTube music channels in 2016 were…

Comment les plateformes de contenus et services ont redéfini le web

 

 

Audible Magic Accuses YouTube of Fraud Over Content ID Trademark

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Millennials and YouTube Ads: Most Watch Until They Can Skip

What U.S. Tech Giants Face in Europe in 2017

Le nouvel algorithme de YouTube expliqué

Sony/ATV boss Martin Bandier: ‘YouTube should have paid us $5bn’

http://musically.com/2016/12/22/sonyatv-boss-martin-bandier-youtube-should-have-paid-us-5bn/

 

Why Is YouTube the Biggest Music Service In the World? Just Ask a Music Fan

Why Is YouTube the Biggest Music Service In the World? Just Ask a Music FanYouTube accounts for one in four music listening hours, according to MusicWatch. But why is it so dominant? The answers, from actual music fans, are almost as confusing as the questions themselves. Spotify has 115 million users (give or take 10 million). It works brilliantly on mobile, and pays artists 16.8 times better . It’s about 100 times better than the music experience on YouTube. So why is it 100 times smaller than YouTube? That perplexing question is now being tackled by MusicWatch, a leading music research firm. The company is headed by analyst Russ Crupnick, who started tackling this question with surveys. Simply, MusicWatch went out and started asking thousands of music fans a simple question: “If YouTube is your preferred music service, why is that?” Here are the three most common reasons that came back: 74% chose it as favorite because it was free 31% chose it because of its on-demand features 26% chose it because there were unlimited song skips But wait: Spotify has a free tier also. In fact, around 70% of its audience uses Spotify for free. So what’s the difference? The answer is twofold: first, YouTube is subject to heavy video ad-blocking, a […]

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UNE VICTOIRE POUR LA CULTURE

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Musique : pourquoi on succombe à l’appel du vinyle

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YouTube Strikes Multimillion Dollar Deal With Music Trade Group Over Unpaid Royalties

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« Pour certains de nos labels, YouTube peut représenter 50 % des revenus » (Pascal Bittard, IDOL)

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YouTube Ripping, A Copyright Wildfire

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33 millions de Français sur YouTube [Infographie]

” Il y a 2 ans, YouTube France comptait 10 créateurs de plus d’un million d’abonnés. Aujourd’hui, la plateforme recense 85 créateurs millionnaires “, a déclaré Nick Leeder, directeur général de Google France lors la soirée YouTube Brandcast le 24 novembre 2016. Cyprien, Bruce, Norman… Ces Youtubeurs “millionnaires” ne sont que la partie émergée de l’iceberg, selon Nick Leeder. ” Nous assistons à une révolution et une nouvelle rupture : YouTube France a changé de façon très surprenante. On vit dans un monde où la création de contenu est faite par les gens pour les gens (comprendre, par “Monsieur et Madame tout le monde” pour “Monsieur et Madame tout le monde”), constate le patron de Google France. Les chiffres de YouTube France 2016 en un coup d’oeil Les chiffres d’audience parlent d’eux-mêmes. Plus d’un Français sur deux entre 16 et 44 ans se rend au moins une fois par jour sur YouTube, une proportion qui grimpe à 74% chez les 16-24 ans. Quelque 33 millions de Français, tout âge confondu, se rendent chaque mois sur la plateforme. Le temps de visionnage a quant à lui progressé de 40 % entre 2015 et 2016. Ce n’est plus un scoop, YouTube […]

 

La croissance du streaming vidéo en Europe

La croissance du streaming vidéo en EuropeDécouvrez les leaders du marché et les meilleures pratiques des apps de streaming vidéo en Europe. Le mobile a bouleversé l’industrie des médias. Le temps passé dans la catégorie Média & Vidéo a augmenté de plus de 210% durant ces deux dernières années, à une vitesse supérieure à la croissance globale des apps. Média & Vidéo devrait dépasser les Jeux en termes de temps total passé dans les apps. Dans notre dernière analyse, Streaming vidéo en Europe — Petit écran, gros marché , nous nous sommes intéressés en détail à la croissance du streaming vidéo. Durant les 12 derniers mois, la France, l’Allemagne et le Royaume-Uni ont enregistré une hausse significative de la consommation data liée aux apps de streaming vidéo. En Allemagne, l’utilisation a plus que doublé, ce qui la place devant la France et le Royaume-Uni. Le temps moyen par utilisateur dans des apps de streaming vidéo a augmenté dans ces trois trois pays. Les utilisateurs d’apps de streaming sont également plus susceptibles d’utiliser d’autres services vidéo, ce qui semble confirmer une tendance générale au désintérêt porté aux abonnements de câblo-opérateurs traditionnels. C’est au Royaume-Uni qu’on observe le plus grand nombre de chaînes de TV traditionnelles développer […]

How the music industry can still be saved

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Les meilleures vidéos pour enfants rassemblées dans YouTube Kids

YouTube Kids permet aux enfants de retrouver sur une même plate-forme l’ensemble de ses programmes préférés. Google annonce le lancement en France de son application YouTube Kids, spécialement destinée aux 3-9 ans. Elle reprend le principe de celle lancée d’abord aux États-Unis en 2015 puis dans l’ensemble du monde anglophone et hispanique. Les enfants peuvent y retrouver leurs héros TV favoris (“Miraculous, les aventures de Ladybug et Chat Noir”, “T’choupi”, “Les lapins crétins”, “Peppa Pig”, “Masha et Michka”, etc.), mais aussi des programmes plus anciens mais cultes (“Petit Ours Brun”, “Les Schtroumpfs” ou encore “Club Dorothée”), des contenus éducatifs (“C’est pas sorcier”, “Une saison au Zoo”, etc.) ou spécialement créés pour YouTube (“Le monde des Titounis”, “Les P’tits z’Amis”, etc.). “On profite du lancement de cette application pour donne rune nouvelle vie à des contenus patrimoniaux comme “Bonne nuit les petits”. Tout cela est le fruit de partenariats avec l’ensemble de l’écosystème français et YouTube Kids nous permet de les valoriser encore mieux”, explique Gregory Dray, responsable de l’application pour l’Europe et le Moyen-Orient. L’application reprend donc des contenus déjà disponibles via YouTube, mais dans un environnement familial intuitif et simple à paramétrer pour les parents, ne nécessitant aucun […]

Is YouTube Building A New Music Industry?

Complexity and opacity continue to act as brakes on the digital music market. For all the progress of companies like PledgeMusic and Kobalt, this emerging ‘alternative’ music industry is still very much at a formative stage. Some years from now this generation of companies could underpin the emergence of a counter-industry, an interconnected mesh of disruptive rights and tech companies that give artists and songwriters different routes to market and greater transparency and accountability. Heck, it might even have Blockchain underpinning it. But before this counter-industry movement gets to scale, it could have the wind stolen out of its sails by none other than YouTube. The YouTube Paradox Although YouTube has never had the closest of relationships with the music industry, it has clearly found the last few months particularly challenging, portrayed as pretty much everything that is wrong with the digital music market. While there is no doubt that YouTube’s revenue-to-audience ratio is below that of audio streaming peers, it is also clear that YouTube is the music app of choice for more consumers than any other service (and it’s growing faster too). YouTube is both a crucially important part of the digital music market and a disruptive partner. Parent company Google has long had an at-best ambivalent attitude to copyright (in stark contrast to its staunch support for patents) and the record labels’ current crusade to have safe harbour legislation revised belies an industry perception that YouTube is sailing as close to the wind as it can get. That may well be the case, and there is no doubt that Safe Harbour was not designed to underpin the business model of a global tech titan. Yet it is also clear that a whole generation of non-music YouTubers have worked out how to build vibrant careers on the […]

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